Archive for October 2011
Blood, blood, some more blood and Horrorfest
A twisted tale about how BlackMilk’s new short film, Anna, was born.
– by Barend Buitekamer
By a sheer twist of fate I somehow got drawn into BlackMilk Productions, after I was afforded the opportunity to have some of my de-compositions read at a sideshow event (Bloody Parchment) during the South African Horrorfest in 2010. I attended the screening of a short film they entered into the Horrorfest at the time. Needless to say, Regression was just as hauntingly beautiful as it was powerful and creepy. Frame by frame it was a work of art.
I have to point out that I’m very careful when I use the word ‘art’. Art is in the eye of the beholder, but very often and ironically, ‘creativity misunderstood’ is classified as ‘art’ by beholders destitute of any artistic insight. Maybe this was the case when a critic labeled Jornada del Muerto, also by BlackMilk Productions, as weirdo noir that belongs in an art gallery.
Regression was dark, macabre, surreal, and damn disturbing for a short film. Hence, it won the award for best short film at the 2010 Horrorfest, which came as no surprise. Its legacy lingered and it also set a high standard in the genre of short horror films. To make short films that linger long in the memories of those who appreciate them, is a form of art in itself. The actual film is the end result of intense focused creative energy projected onto the retinas, and then into the minds of viewers by an artistic collective.
The core of BlackMilk Productions is made up of four eccentric semi-sane individuals with a passionate love for filmmaking. They are: Estè Kira (Art and Production Design), Leon Visser (Director of Photography and Editor), Ronnie Belcher (Director, Writer and Sound Design), and Thomas Dorman (Director and Writer). Together they are a creative force to be reckoned with.
When I got news that BlackMilk Productions was working on a film for the 2011 Horrorfest my blood immediately started boiling with excitement. When they informed me that my involvement was required in the film my blood boiled over. Some drops landed on the script and some on the set.
Humbly maintain that I don’t deserve any credit for bloody smears or stains in the production ofAnna, but I was threatened with torture and dismemberment. Let’s face it, I can’t act my way out of a parking ticket or into a coffin. So, how was I to be or not to be the miserable and dodgy desk clerk of a creepy and ill-omened small town hotel? It was decided that I should just be myself and; or imitate the six legged resident evils indigenous to cockroach hotels.
By the way, to enhance the fear-factor a variety of insects were used in the production of Anna. This includes maggots, super worms, and hissing cockroaches. None of them were harmed or eaten by BlackMilk Productions. Food and catering on set was provided by Marie Lourens, who had the difficult task to satisfy the culinary needs of both vegetarians and cannibals. It was Marie and Nerine Dorman who convinced me to eat my first fish head at a BlackMilk fish braai staged for the collective. I just couldn’t do those eyes.
No army can march on an empty stomach, but no army of actors were needed to make Anna a memorable cinematic event of shock and awe. Instead, a select few was auditioned and eventually chosen for their commendable acting skills. They are: Jessica Miles, Alexander Hart, Shane Mullis, and Noa Shortridge. Without them the production of Anna would’ve been a mission impossible.
The story of Anna starts off when a lonely couple meets on a sunny day on a deserted rural road on their way to Cape Town. An unfortunate event leads them to spending a night together in a creepy small town hotel. A night of unspeakable terror lies ahead, as a cycle of pleasure and pain comes to a bloody conclusion.
Estè, who was responsible for SFX make-up, almost had her hands full (of real blood) to make sure there was enough fake blood on set to realistically enhance the film’s bloody conclusion. Her excellent skills as art and production designer really came into being, when she had to create an unsuitable environment out of an already unsuitable environment, and transform San Remo Guest House in Gardens into the Hell-a-Day Inn. San Remo is soon to become San Removed, because it was recently sold by its owner after becoming a decrepit haven for the desperate and destitute. This includes drug dealers and prostitutes. Whilst on set I overheard more than one argument turn into death threats, but in comparison with certain characters in Anna, the characters of San Remo were peace activists.
The outdoor scenes for Anna were shot on the long and winding roads in the picturesque outskirts of Philadelphia on the West Coast. I’m convinced that a few passing motorists and locals were perplexed by the bizarre events taking place next to the roadside. “No! There wasn’t an accident! No! We’re not shooting a Marilyn Manson music video. We’re just shooting an advertisement for tomato sauce! No! We’re not in any way affiliated with Ed Gein.” Get my drift?
Being on set with BlackMilk Productions has its dangers. One can easily die of laughter when Leon, Thomas, and Ronnie start telling their notoriously twisted mother-jokes. Then there’s also some innovative and sometimes funny props that become part of, dare I say watermarks, in BlackMilk films. In Anna there’s a BlackMilk beer label, a packet of BlackMilk cigarettes aptly named Coffin Nails, and a bottle of BlackMilk Bourbon. As part of the soundtrack, even a BlackMilk sermon was delivered by Reverend Ronnie for the twisted individual who came up with the idea of Vleisgenoot as the name of a porn magazine. That individual is me…
Anna’s soundtrack contains music by K.O.B.U.S! and, believe it or not, Charles Jacobie. In my opinion, this effect of contrast and potential is a Jungian principle that enhances both the visual focus and auditory tension of the film without diluting the energy of Gestalt.
Ronnie and Thomas took equal turns in skillfully directing Anna, but without the keen cinematographic eye and camera skills of Leon, the film would’ve had less of a visual impact. Anna has a more linear script than other BlackMilk films, and this proved to be not only a challenge for the directors, but also for the cameraman. Between Leon, Thomas, and Ronnie they managed to blur the lines of a linear script with just enough surrealism and atmosphere to accentuate the storyline, but not to reveal the plot. Estè added her touch by placing the actors in realistic environments; so that they could immerse themselves into the ambience and story of Anna.
The plot started when Ronnie and Thomas started writing the script on 15 July 2011, just before Jornada del Muerto was filmed. The shot list was completed by 15 August 2011. Filming took place on 27 & 28 August 2011 and the bulk was completed from 2 to 4 September 2011. Editing and sound was done by 17 September 2011 and the trailer was released upon an unsuspecting world. The plot thickened a week later when Anna was screened for the first time to cast and crew at an exclusive and very decadent event in Leon’s apartment.
And then, the plot got even thicker when BlackMilk Productions was nominated to make a short film for the shnit Real Time Competition hosted by shnit shortfilmfestival. Their film was screened and won the Real Time Audience Choice Award for Best Short Film.
I find it onrusbarend (disquieting/foreboding) that this BlackMilk film was called Onrusbarend. Onrus is a fictional town in one of my short stories, Barend is my name, and Anna is a sinister character in more than one of them. Somehow she seems to follow me… to haunt me. Anna will be screened at the Labia Theatre on Orange Street at the end of October 2011 in Cape Town during the South African Horrorfest. Anna will be there. She wants to meat… oops sorry… meet you.
This shnit is for real! – Why “Onrusbarend” came to be.
One way to know that you’re really busy is when a day ago seems like a distant memory. And that’s how I know that the BlackMilk team are extremely busy. We all agree that it seems like at least a month and not three measly days ago that we were standing in the rain filming the first shot of our latest short film … And believe it or not, the edit is done! Yes, grading, sound and everything!
You’ll be able to see the film on Sunday, October 9, at the Labia Theatre on Orange Street at 8pm as part of the shnit shortfilmfestival & shnit Real Time Competition, which will be judged by the audience, so please join us.
This all came into being about three weeks ago, while editing “Anna” (which is yet to be publicly screened, stay tuned!). We were honoured to be approached by the organisers of the Cape Town shnit shortfilmfestival to shoot a short film with a daunting time restriction. The film has to be completed within three days and they gave us a theme as well. The Cape of Storms, a theme we were allowed to warp in any way we wanted to.
Adamastor, the raging Greek titan was mentioned in the brief as well and his special mythical significance to the Cape storms and Table Mountain.
Ronnie and myself spent many hours working on the script, going back and forth with various ideas. Each time the story seemed too obvious, too predictable. We wanted to create a story that resonated with us, that would ignite the spark we both feel drives us towards the end of the various projects we create.
When writing, we often take the other two members of BlackMilk into consideration and this was no different. We wonder whether they will enjoy creating our vision. Will it be challenging enough for them but at the same time doable? Leon is very good at knowing if something is possible, and is very pragmatic. We often discuss key technical issues with him before finalising the script.
After creating at least ten possible options and stumbling through the quagmire of many dead ends, we came face to face with a creature summoned up from the darkest depths of our collected psyche … Which Esté soon named “Onrusbarend”.
Built from myths, dreams and distant memories, “Onrusbarend” has many references, most personal, many biblical and some very South African. Many were created intentionally; others on some deeper level which we only discovered while filming.
We knew from the start that we wanted it to begin with a narration. A voice which would subconsciously inform viewers about what was happening behind the costume and props of basic narrative. We immediately knew Esté was the right person to write this. And she didn’t disappoint. After trying various narrators we realised the voice viewers would hear must be hers.
Giving faces to the characters in a story was another daunting task, but we knew who we wanted to cast from the start. Jessica is an awesome actress and we worked so well with her on “Anna”. She had all the qualities we wanted and we were very relieved when she said yes to the role. I doubt we would have been able to find another actress as talented as her and willing to perform under the physical conditions the role demanded, especially on such short notice.
Planning is everything, and with a single day to film a complex tale, it’s doubly important to try have everything worked out to the ”T”. This isn’t always possible and there were a few small hiccups, mostly unavoidable… Some of them not and noted as errors, not to be made again.
But through the storm of shot lists, props and gaffer tape we sailed towards the final shot, then beyond, everyone manning their various stations and helping out where they can and with great success.
We’re looking forward to showing you our creation. We hope it’ll make you stop, feel and think or, in the very least, give you a moment of entertainment. Don’t forget to put October 9 into your diaries. See you at 8pm on Sunday evening at the Labia Theatre on Orange Street. Click here for the Facebook event.
All photos by Lohan Koegelenberg